"WSO pairs Rachmaninoff, Stafylakis for ovation-worthy evening:
The highly introspective, three-part orchestral song cycle based on D. H. Lawrence’s harrowing poem of 1929, "The Ship of Death" in which the dying writer wrestled with his own mortality became its own ideal vessel for Stafylakis' take-no-prisoners compositional style, daring to pull back the curtain on the darkest shadows of life.
But the epic work four years in gestation also highlights the versatility of his compelling artistry, alternatively fuelled by his own head-banging "metal" ethos as witnessed during his last WSO première, Weighted at the 2019 Winnipeg New Music Festival featuring American progressive metal trio Animals as Leaders, and his ability to spin spiderwebs of gossamer light instrumental textures.
Raiskin — another musical chameleon — kept the New York City-based composer’s latest creation well in hand, superbly leading the players while displaying his full commitment to the often-densely written, high octane orchestration.
After a gripping introduction that immediately plunged the crowd of 1,053 into Stafylakis’ visceral sound world, Sly immediately set the tone for the 40-minute piece with fierce intensity and noble gravitas requisite for carrying the weighty work dealing with life and death to its ultimate shores.
His robust vocals soared on his thoughtful phrasing and confident projection, while bringing operatic intensity to several sections in particular, such as his repeatedly intoning "oblivion" like a dirge-like chant; a wise choice that added overall cohesion to the work as well heightening its dramatic punch.
At times, the singer seemed to compete with Stafylakis' often volcanic orchestration of blockbuster chords and knotty polyrhythms, however effective interludes including word painting laced throughout and serving as commentary for its 10 sections provided both relief and release, while creating better balance between disparate forces. It also became a struggle at times to hear some of Sly’s text in his lowest register, with his voice subsumed into the orchestra's sonic depths.
The climax that comes with the word "oblivion" sung a cappella in the wake of lugubrious, muted brass — including Sly throwing his head backwards that risked melodrama but thankfully escaped that peril — resonated with a sense of fatalism. His final decree to listeners to "build your ship of death… For the voyage of oblivion awaits you," delivered with spine-tingling intensity chilled to the bone, leading to a well-deserved standing ovation and cheers from the audience, with the beaming composer taking the stage for his bow with Sly."
—Holly Harris on Into Oblivion, Winnipeg Free Press
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